This was the song that started it all for The Exponents. Instead of the usual TVNZ studio cheapie, the promo is a film clip, complete with fantasy 80s Christchurch night-life scenes. The song was inspired by Jordan Luck's onetime landlord, who was trapped in an abusive relationship. Locations include the Arts Centre and deco apartments opposite. Reaching number six, the song would prove to be the biggest hit on a debut studio album packed with classics. Luck later described it as "a strange song to pick as a first single"; but the right one.
In May 2017 Victoria Spackman began as leader of creative campus Te Auaha, which is set to open in Wellington in 2018. Before that she was chief executive and co-owner of Wellington company Gibson Group, whose multi-media and interactive installations and TV programmes reach a large international audience. Studies in law, film, theatre and linguistics have all fed into Spackman's work.
Composer/arranger Victoria Kelly studied music at Auckland University, and film composition at LA's University of Southern California. Since then her eclectic, award-nominated CV of soundtracks has tended to the dark or fantastical (Out of the Blue, The Ugly, Black Sheep). In 2007 Kelly won a NZ Screen Award for TV's Maddigan's Quest; in 2011 she was appointed musical director for the Rugby World Cup opening ceremony.
This Richard Riddiford documentary collects together stories about the creative writing course at Victoria University. The storytellers are a roll call of names who have studied and taught there, from course founder Bill Manhire to current Insititute of Modern Letters director Damien Wilkins. Writers praise the gentle style of teaching and sense of community (and feedback). Eleanor Catton talks about the journey from her first novel The Rehearsal, written while at Victoria, to the first sentence of The Luminaries. The doco is named after the poem by American Wallace Stevens.
Made for the Post Office, this 1971 National Film Unit documentary offers a potted history of New Zealand, using postage stamps as the frame. Director David Sims ranges from Māori rock drawings, to Tasman and Cook. Once Pākehā settlers arrive, the film offers a narrative of progress (aside from two world wars) leading to nationhood and industry. Archive photographs, paintings, Edwardian-era scenes and reenactments add to the subjects illustrated on the stamps. The stamps include New Zealand’s first: a full-face portrait of Queen Victoria by Alfred Edward Chalon.
This is a silent film record of the civic reception of returning World War I hero, Lieutenant John Grant. The Hawera builder won a Victoria Cross aged 28 for raiding several German machine-gun 'nests' — by leaping into them — near Bapaume, France on 1 September 1918. Grant's citation noted he "displayed coolness, determination and valour". Grant is wearing the NZ Army's 'lemon squeezer' hat as he plants a tree and poses for portraits in front of the crowds, and receives the supreme award for battlefield bravery given to Commonwealth servicemen.
This National Film Unit production records the making of four large-scale sculptures for a 1971 international symposium to commemorate Auckland City’s centennial. Helen Escobedo (Mexico) nodded to the skyline’s masts and cranes with Signals in Parnell Rose Garden; Opened Stone by Hiroaki Ueda (Japan) was balanced near Auckland Art Gallery for 35 years; and American Fred Loopstra's Homage to Will still ploughs Victoria Park. A central city scrap metal work by Canadian Tom Burrows was removed in 1977, perhaps achieving his stated aim: to “disturb” its viewers!
Host Richard Driver introduces this short Radio With Pictures segment on the “band that made Milwaukee famous”. For the Violent Femmes it’s a long way from Wisconsin to Wellington. RWP hands control of the camera to the band: after goofing around in the ivy in front of Victoria University’s Hunter Building, the Femmes are presented with their first gold record in a nearby graveyard (New Zealand is “obviously a country with a high level of taste”). The first Femmes break up occured the following year. The band's cover of T. Rex classic ‘Children of the Revolution’ plays on the soundtrack.
English singer/songwriter Billy Bragg chats with Richard Driver in this interview, shot in a pre-bus lane Manners Mall in Wellington, for TVNZ’s hippest music show. They have unlikely company in the form of Alice, an elderly passerby, and the affable Bard of Barking happily includes her in the conversation. With a rare Top 10 hit single on his hands, Bragg discusses commercialism, his brief army career, and writing both love songs and political songs. A pre-concert performance of his track ‘Days like These’, recorded at Victoria University, bookends the interview.
In Episode Two of this series of The Big Art Trip, hosts Douglas Lloyd-Jenkins and Fiona McDonald visit the Grey Lynn home of painter Jacqueline Fahey and the downtown studio of photographer and rocketeer Yuk King Tan. Next they drive west to Laingholm and meet singer/songwriter Victoria (Taus) Girling-Butcher and her band Lucid 3. Then it’s back to Grey Lynn to meet artist John Reynolds and his oil stick paintings, and into the city to see the iconic Bushells sign and meet photographer Natalie Robertson, who is shooting a collection of NZ tea towels.